Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Somalia and from Lagos.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1965 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Mexico City.
I'm losing my edge to the art-school Edmonton kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Popol Vuh to the electroclash kids.
I played it at the Spitz.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Jeru the Damaja. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Nico record.
I hear that you and your band have sold your theremin and bought a güiro.
I hear that you and your band have sold your güiro and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Girls At Our Best!,
Bill Wells,
Easy Going,
Grey Daturas,
Suburban Knight,
The Buckinghams,
Infiniti,
The Monochrome Set,
Sun Ra Arkestra,
Theoretical Girls,
Bootsy Collins,
The Mummies,
Groovy Waters,
The Angels of Light,
Roger Hodgson,
Fat Boys,
The Detroit Cobras,
Ultimate Spinach,
Joey Negro,
Agitation Free,
X-Ray Spex,
The Walker Brothers,
Chris Corsano,
the Sonics,
Juan Atkins,
Donny Hathaway,
D'Angelo,
James White and The Blacks,
Rotary Connection,
Fifty Foot Hose,
Althea and Donna,
La Düsseldorf,
Tim Buckley,
New York Dolls,
The Fire Engines,
Avey Tare's Slasher Flicks,
Boredoms,
Oppenheimer Analysis,
Richard Hell and the Voidoids,
Electric Light Orchestra,
Scrapy,
Public Image Ltd.,
The Smiths,
Archie Shepp,
Crime,
Talk Talk,
Ralphi Rosario,
The Golliwogs,
John Lydon,
The Searchers,
Bronski Beat,
Bobby Womack,
Stereo Dub,
Andrew Hill,
The Fuzztones,
FM Einheit,
Public Enemy,
London Community Gospel Choir,
Aaron Thompson,
Lucky Dragons,
Dead Boys,
Quadrant,
The Evens,
Quando Quango, Quando Quango, Quando Quango, Quando Quango.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.